West Hood is a Classic Wild West style font that ready to rock! This old fashioned font is really something since it has many styles. This item consist of 6 fonts in various styles which you can play around with it. Suitable for design needs with a touch of the classic western look.

Meristmas is a beautiful and sweet handwritten font. It is fresh, clean, and elegant. This font will look amazing in a great amount of projects, both formal and informal. Meristmas is the perfect font for making craft original and outstanding designs. Its casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile. You can also get alternate ornament / swashes in this font. Just type 0 - 9 and block one characters ( number ) / highlight and you can get alternate swash in here. If you use character Map please convert to .ttf format to get swash alternate. Comes with a full uppercase, lowercase, numbers and punctuation + standard multilingual support. It’s great for branding, logo designs, lettering, logotype, craft, posters, packaging and much more. We recommend using Adobe Illustrator or Photoshop. Tutorial how to Install & use Alternate / Special Character : https://hanscostudio.com/tutorial/ Enjoy!

Charlemagne, one of the great rulers of the Middle Ages, was instrumental in the reestablishment of formal education in the West. This font was inspired by the notion that he felt the need to protect his communications from people with the ability to read; a rare skill then. Did he really command such a script to exist? He did instigate the development Carolingian minuscule script. Here are two different systems that are both attributed to him. Does it provide any real security? No, but it is fun to think about how such a system might have been used.

Linotype Afrika, from German type designer Jörg Herz, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. Dancing, jumping, and playing, the lively beings of this symbol font exude joy. Ornaments and a few frolicking animals complete the font. Combining the single figures, whether as decoration or border, creates a pattern which will surprise you with its lightness and dynamism.

The official terseness and grey of Neo-Classical type faces will stand out when we narrow them. The consistently vertical shading of the letters suppresses one's desire for eccentricity, just like tea with bromine. It would, however, be wrong to consider Bodoni as the originator of this - vertically shaded - trend in type face production. In his Manual we can also find type faces with a slanted axis of shade, picturesque italics and a number of normal, more human type faces. It remains a mystery why his name is connected only with one of his many works. Genre's basic design is fairly light in colour, which is why it looks good in illustrated magazines and short texts and directly calls for graphically striking, contrasting headings. It shows off beautifully next to photographs, on diplomas and on printed materials connected with a person's death.

Actually there is nothing furious about this font. There are no sharp edges and absolutely nothing harmful at all. The name plays tricks on you, because it's a cool laid back font with ounces of possibilities. I'd say you can use the Fake Fury font for posters, flyers, comics, invitations, commercials, toys, candy, clothing, packaging ... ahhh, the list goes on and on! Each letter was carefully handdrawn and soften a bit with rounded edges. And each letter has a total of 6 different versions: upper- and lowercase, and then 4 alternate versions. And the magic happens AS you type, because the font is programmed to automatically cycle through all the different letter variations!

Graphic designers of any nationality and background know very well that the art of composing titles correctly is not easy, Especially when it comes to periodical publications where there is need for both flexibility and graphic coherence. Tablet Gothic was originally engineered as a titling type family, meant to help designers working on publications that require output as hard copies and a variety of digital platforms at the same time. As such, it is a grotesque sans serif that looks to the future of publishing with a clear understanding of its history, and reminiscences that go back to nineteenth century Britain and Germany. Tablet Gothic delivers the sturdy, straightforward and clean appearance expected from a grotesque, but it allows itself a good measure of personality to make it stand out on the page. Its 84 styles –six series of condensation and seven weights in each series plus obliques– guarantee that, whatever the publication format is, there's a Tablet Gothic font that will do the job and perform well both technically and aesthetically. Furthermore, the rounder styles, Tablet Gothic Wide, Normal and Narrow achieved amazing results at very small sizes, producing  a beautiful texture and highly readable text blocks. Tablet Gothic fonts can be purchased individually, by series or as a complete bundle (best value!)

The Shad is the almost illegible cousin of the >> Chiq. As the name suggests - it consists of the shadows of the letters. And the bolder the font style, the stronger it is. The “Light” only has a thin shadow, while the “Black” casts a very deep, broad shadow. Shad only consists of the letter shadows, the corresponding letter remains transparent, i.e. without filling. The “metrics”, i.e. the spacing and character widths, correspond to those of Chiq, so that both fonts can be placed congruently on top of each other. When you combine and play with the two fonts, very attractive effects quickly emerge. Shad brings a bit of 3D into typography.

WEG* font is an experimental type system where legibility isn’t the focus. This project studies how glyphs are constructed and how their ductus can be modified. I explored how far I can move the limits if I don’t worry about the legibility. In Weg, letters are built by a single line that connects them, along with words and paragraphs. When weight decreases, the legibility of the signs increases. This is the first stage. It’s a project in expansion. The set contains uppercase, lining figures and basic punctuation in three weights: Regular, Light and Thin. The current supported languages are Spanish, Guaraní and English. If you need any other language, please let me know. I would like to expand the character set. Second stage project WEG is an experimental in-expansion font family. Here I present to you the second stage. I’m planning the first upgrade for middle 2021. I’m preparing a pattern set for July 2021. Here you can see the first four patterns. If you buy the font before July 2021, you’ll get this upgrade! • Second stage April - July 2021: pattern set (first four ready). • This upgrade will be available on August 2021.

Worthe Numerals come out of a time-tested development cycle where House Industries employees ask “What if this could be just a little more…”. After pushing traditional didot forms to the limit, these digits were originally applied to a set of wood blocks. But, who says replenishable Michigan-grown basswood should have all the fun? So we added everything one needs to stylishly set their current currency and credit default swap hedges, while also being able to set the appropriate fractional take from their blog’s micropayment structure. Made to be large, attract attention, and —when needed— drop a shadow, Worthe Numerals brighten the daily drumbeat of numerical gloom. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

This contemporary typeface is inspired by the neo-humanist and geometric industrial tones presented in late 2000s typefaces. The font family is also composed of the normal width and display width in order to support different applications in delicate designs.

Introducing, Krafika - a modern sans with ligatures and alternates! Krafika is a modern sans with a bunch of ligatures and alternates that will make your poster, cover or logo even more stunning and stand out! You can use this font as a stand alone font for any project such as logo, headline or branding. Also comes with the right arrow and star! This fonts support Multi Language.

It's unpredictable! It's enigmatic! It has a winning smile and a devil-may-care personality. It can be charming and obliging and yet also elusive and impractical. It is the doer of deadly deeds, it is the dextrous hand of ELEPHANTMEN artist Justin Norman. It is swift and decisive, hesitant but packed with Talent. Ladies and... uh, More Ladies... Moritat has entered the building. Whoops, actually Moritat has LEFT the building. Moritat is the alias of Justin Norman, comic book artist and illustrator. The font is based on his pen lettering.

Altman Grotesk was initially planned as an internal studio typeface for the graphic design studio Ateljé Altmann based in Stockholm, Sweden. After thoroughly researching both classic and contemporary sans serif typefaces, the aim for Altmann Grotesk was set at joining unobtrusiveness yet distinctiveness in one look. As a result, the sans serif successfully embraces a polarizing image of minimalism and uniqueness. During the design process of Altmann Grotesk, it soon became clear that it had the potential to be more than a studio typeface—which ultimately led to a sans serif font family with five distinctive weights that are perfected to fit every possible typography use case.

Mirabel is based on the handwriting of Beverly Bouwsma (Philip's mother), which she developed in the 1930s in, as she puts it, an act of teenage rebellion. In the 1960s, Philip gave her a broad-edged Osmiroid fountain pen which she took to immediately and has used ever since, along with the computer fonts he made from her script. Since Beverly Bouwsma mixed loops and straight ascenders, two interchangeable fonts have emerged, a formal package that sacrifices some flamboyance for classical balance and legibility, but retains the quality of the writing and celebrates the personality of its creator. The Mirabel fonts are available in all popular font formats, and the character sets cover a wide range of codepages, including Central and Eastern European languages, Esperanto, Turkish, Baltic, Celtic/Welsh.

This year we commemorate the 200th anniversary of the first sans-serif typeface. and what better way to celebrate, than to design our own sans-serif! Brother 1816 is a very flexible, multifaceted and solid typeface, mixing Geometric shapes with Humanistic strokes at the same time. You can choose between a pure geometric or humanistic style, or even mix the +20 alternate characters to create the feeling that you need for your projects. Its humanistic nature makes it easy to read, legible in small sizes; perfect for branding, editorial and signage. Its geometric nature works for bigger applications in need of more personality, like branding, headlines, posters, etc... This makes Brother an excellent tool for an incredible wide range of uses. It has a total of 32 fonts, which are divided into 2 groups: normal (16 weights) & printed (16 weights). Each weight has +460 characters, +20 alternates, angular and straight edges, swashes, fractions, ordinals and much more.... Brother has also been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions.

Giulia is a sweet type family consisting of 12 Fonts. It was created by Hannes von Döhren and published by HvD Fonts. Besides a fancy curly version there is a second version with a more straight architecture, still owning the same soft and friendly character. Informal and easy going at first sight and perfect for display settings, however the straight architecture of Giulia Plain also makes it nice for shorter to medium texts. This contemporary type family is ideal for use in retail, packaging, games, food, kids applications and advertising.

Caravela is a decorative formal typeface. It was designed, drawn and realized by Mans Greback in 2020. Inspired by 17th century typographic works, this work lifts some of the absolute best elements from the golden age of calligraphic lettering, bringing it to life in a new, modern setting. The fusion results in a typeface that works perfectly for a present day headline, logotype or invitation, while keeping the traditions and formality inherited from history. It contains several alternate alphabets, a great set of ligatures and hundreds of contextual functions, which combined make the writing appear as a true handpainted piece of art. Swashes can be accessed by writing swash1, swash2, swash3 etc. Also included is the Caravela Swash style, a font that contains more than 50 decorative elements to be used with the lettering for an even greater visual effect. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Adapted from Ronsten to make an acceptable chunky, more normal serif font retaining the serif alignment with the letter curves. An Italic is also available.

German type designer Svend Smital created this sans FontFont in 1999. The family has 6 weights, ranging from Regular to Bold in Condensed and Normal and is ideally suited for film and tv and editorial and publishing. FF Super Grotesk provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Tomkin font is an extra large super family of 54 fonts! Tomkin have such a big abundance of contrast, styles, weights, width. Typesketchbook consists of a very usable, clean and modern sans typeface with Semi-square struture. The complete Tomkin type family includes 9 weights with italic and 3 width (normal, narrow, condense) versions for each of them all in all 54 fonts for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing , as well as packaging.

As its name suggests, PlainPensle is a handwriting font that emulates printing and writing with a pencil or ballpoint pen. The plain and bold styles have hand printing that is ordinary and nondescript. The italics and bolditalics contain simple handwritten cursive.

Spinner Rack Pro BB is a new and improved version of the classic Blambot typeface, Spinner Rack BB! New spacing, kerning, manga characters, barred-I correction, additional accented characters, autoligatures, contextual alternates, and a plain bold weight for the first time!

Satisfice is alteration of satisfy, influenced by Latin satisfacere. The formal use dates from the 1950s and I hope that with this font you as a user of this font can feel satisfied using this font. Satisfice is a modern serif typeface. Clean, delicate, classic and has a characteristic. Please let me know if you have any questions. Lettercorner Studio

In recent years with the popularity of hand written brush styles, there seems to be a relaxation of more formal calligraphic letterforms. Traditional calligraphy has always been a love of mine. American Calligraphic brings the look of hand written italic forms right to your fingertips. Get more customization with the free flowing forms that brings life to your formal designs. Whether you create greeting cards, invitations or simply want to announce a special event in your life, American Calligraphic gives you powerful options when the numerous alternate letterforms are used.

In a not-too-distant future, humanity was ruled by a powerful, technologically advanced empire known as the Synod. The Synod controlled all forms of communication, and through this, they controlled the minds of the people. But a small group of rebels, known as the Resistance, had managed to evade the Synod's surveillance and formed a secret underground movement. They were determined to overthrow the Synod and restore freedom to the people. One of the Resistance's key members was a young artist named Trystån. He had a unique talent for creating powerful, visually striking posters that captured the spirit of the Resistance's message and spread it to the masses. Trystån had just completed a new poster, one that would be critical to the Resistance's plans. It depicted a single, outstretched hand holding a traditional Kimarii laser staff, with the words "Libertat!" emblazoned across the top. The poster featured a striking and powerful font that perfectly captured the spirit of the Resistance's message. The font was a combination of bold lines, elegant confident curves, and strong angles, giving it a sense of strength and determination. The lettering was large and prominent, filling up much of the poster, making it hard to miss. The letters seemed to be almost carved into the surface, giving the impression of something that was permanent and unshakable. The font was colored in dark shades, and was a sans serif typeface, that gives the message a very modern and current feel yet also feels vintage and retro, connecting the present with the struggles of the past. And with multilingual support, the typeface ensured that the message of the Resistance could be disseminated in every language on the planet. The background was minimalistic and in contrast, with a neutral palette, with just a hint of a sand-like color, representing the harsh conditions of the land that the people were fighting for their rights. The focus was all on the lettering, and how it conveyed the message. The poster was indeed a moving piece of graphic design, with its strong, striking font, and powerful imagery. It was clear that Trystån had put a lot of thought and care into its design. The poster, he hoped, would connect with people on an emotional level and inspire them to rise up against the oppression of the Synod Empire. The poster was set to be distributed at a major rally in the capital, where the Resistance was hoping to gain the support of thousands of citizens. But the Synod was not about to let this happen. They had long suspected the existence of the Resistance and had been working to infiltrate their ranks and discover their plans. The night before the rally, the Synod launched a surprise raid on the Resistance's hideout, capturing Trystån and several other members of the Resistance. Trystån was thrown into sand pits and interrogated by the Synod's top agents. They wanted to know everything about the Resistance's plans, including the details of the poster and the rally. Trystån, knowing the importance of the poster, refused to give in, even under the harshest of conditions. Meanwhile, the rally was drawing near, and the Resistance was desperate to get the poster out to the public. They knew that it was their only hope of gaining the support they needed to overthrow the Synod. They came up with a plan to smuggle the poster out of the hideout, but it would be a risky endeavor. As the rally began, the Resistance made their move, slipping the poster into the hands of the crowd. Trystån's poster had made a big impact in the rallies, and soon it became the symbol of hope for the resistance, and the visual representation of their struggle for freedom. The poster had become the catalyst for the revolution, and it would be remembered for many years to come as the symbol of the fight for freedom and democracy. The image of the outstretched hand holding the Kimarii laser staff struck a chord with the people, and they began to rise up against the Synod's oppression. Trystån, still locked away in the sand pits behind a stasis feild, could only imagine the scene unfolding outside. But he knew that his work had helped to spark a revolution, and he felt a sense of pride and accomplishment. The Resistance, with the help of the rally, was able to overthrow the empire, and Trystån was released, celebrated as a hero and hailed as the artist who helped to bring about the new era of freedom and democracy. The poster Trystån had designed had become the symbol of a new era, and it would hang in museums and public places as a reminder of the power of resistance and art, in the face of oppression. Features: regular and light weights numbers and punctuation multilingual characters

This typeface is a tribute to well-known Italian designer Marcello Nizzoli. Nizzoli is a modern sans serif font that offers a wide range of alternatives—a workhorse type well suited for headlines, posters, corporate identity and advertising campaigns. This modular design is based on geometric shapes and combines straight lines with rounded corners. The whole family is composed of four 7-weight subfamilies: one normal and one alternative plus rounded versions. Each subfamily includes matching italics. This typeface is my own interpretation of those curves and shapes found in Marcello Nizzoli’s designs.

Introducing the sanserif font Goda. We design this very tempting and beautiful font with gentleness and yet still fit if you use it in various projects with masculine and feminine themes. We designed this san serif family font by paying attention to the combination of each letter to create a beautiful impression and appearance, making it easier to answer your needs, both formal and non-formal needs. This font is perfect for a wide variety of design projects, sporting events, branding, banners, posters, movie titles, food and beverage, technology, quotes, clothing, logotypes, and more. Of course, your various design projects will be perfect and amazing if you use this font because this font comes with a font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

Inspired by winter and Christmas, this modern calligraphy font duo is right for any of your projects. These fonts are in perfect harmony with each other and complement each other. With them you can create a beautiful composition. You can also use them individually. There are alternatives in the script that will help make your project more attractive, in a sans font you will see bold and thin letters that diversify your design.

A practical yet unique display face designed to offer attention-getting headlines and an alternative to the normal wild west faces.

Animus - Serif font family - Multilingual - 6 Styles Animus is a uniquely elegant serif font family.This font provides flexibility in all your projects with its aesthetic structure, multilingual options, 6 styles and 3 weight options. You will have the opportunity to enrich the content of your projects with its elegant structure. Depending on the purpose of use in the typographic composition you will create with 6 styles; you can enrich your titles in books or magazines and your logos for branding. You can benefit form the elegant structure of standard characters in your plain text. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual supports. Ideal for books and magazines, editorials, headlines, websites, packaging, logos, branding, advertising, movie titles and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. Have a good time.

This whimsical font is thicker than normal and slightly toggled. It is playful and fun.

Condemned is a light destructive sans typeface created from an old damaged ATF Specimen Book from 1912, and looks reminiscent of poorly transferred rub off type. It contains a complete alternate core character set for a subtly randomized look. Here's what's included with Condemned: 684 glyphs - including Capitals, Lowercase , Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 5th graphic for a preview of the characters included) Contextual Alternates that auto-switches between Capitals & Alternate Capitals, Lowercase and Alternate Lowercase, as well as Numerals and Alternate Numerals for visual randomness. To access the Contextual Alternates feature, you will need to be using software with Opentype compatibility otherwise you can access the alternate glyphs via a Glyphs panel. Stylistic Alternates feature that swaps all standard Capitals, Lowercase, and Numerals with their Alternates Alternate Capitals and Lowercase are complete with all international accented characters Font is provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why Condemned is for you: You're into legible but distressed typestyle that imitates a random distress to it You love condensed gothics, and want to pair them with a distressed condensed gothic You're a fan of old Letraset/Transfertype rub off lettering You're recreating weathered military ephemera and want a typeface with some tooth to it You just like to collect quality fonts to add to your design arsenal

LOOK OUT! It's kinda creepy, we know, but we're convinced that this font does whatever a spider can -- in fact, we believe it can actually spin a web of pretty much any size, and even catch thieves as if they were bugs of some sort -- let's say flies. In fact we'd almost go so far as to say that, in the chill of night (perhaps at the scene of a crime) this font may just arrive like a streak of light in the nick of time. We're releasing this font now not for wealth or fame, we ignore those things, action is our reward. Here at Comicraft we think of life as a great big bang up, and whenever there's a hang up, you won't find us climbing -- or crawling -- the walls... well, not without STICKY FINGERS anyway. Find yourself a pair of webshooters and this font is the perfect complement to any Halloween costume.

PT Parangon™ was designed in 1986-2002 by Anatoly Kudryavtsev and licensed by ParaType. This type family belonges to Neogrotesque subclass of closed Sans Serif. Letterforms of lower case is based on the tradition of 1710 Civil type and some modern Italic types. The family has a lot of weights and styles including Extra Condensed, Condensed, Regular, Extra Light, Light, Bold, Extra Bold. For advertising and display matter. Also it can be used for texts in advertising magazines.

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.